Some stories come to life beyond the screen to resonate in a powerful way and this is exactly what writer Kelly O’Sullivan has achieved in Ghostlight with an outstanding cast and performances to match.
It is packing more than an emotional punch, it’s more a battering-ram that is unapologetic with O’Sullivan not only on writing duties but also directing alongside Alex Thompson.
And this all comes together through the family trio of Dan (Keith Kupferer), Daisy (Katherine Mallen Kupferer) and Sharon (Tara Mallen). Not only an on-screen family but also in real life which you don’t see often.
To say their natural family chemistry automatically translates to their on-screen dynamic is reductive and is a disservice to the phenomenal performances from each.
Showing as part of the Glasgow Film Festival for its UK premiere, Ghostlight takes you down to the deepest depths of trauma and grief.
This is where we are introduced to construction worker Dan who finds an outlet for coping in an amateur theatrics group and reluctantly is cast in a production of Romeo & Juliet unbeknownst to his daughter Daisy and wife Sharon.
How O’Sullivan and Thompson tell this story is uncomplicated and it doesn’t lose sight of what’s important. It is bold and, though brutal in parts, there is a softness to it.
Keith Kupferer is the heart of this movie and carries the weight of the story in such a nuanced way where he isn’t just an angry middle-aged guy unable to express his emotions. He brings a warmth and vulnerability to this character in what is a powerfully commanding performance that instantly gets you invested.
The relationship with daughter Katherine is special and her screen presence is a force to be reckoned with – she firmly holds her own and is a bit of scene-stealer with the energy she brings that grabs you by the throat.
It’s a great contrast to the stoicism of Kupferer’s Dan. There is tenderness in its approach to unimaginable loss and we see that in Tara Mallen’s Sharon. It may be a supporting role but is one that isn’t less significant and the time Mallen does have on screen she makes it count and memorable.
What is remarkable is that it’s very much an ensemble performance even with the family unit being the primary focus.
There is depth throughout especially in what Dolly De Leon brings to her character Rita, a once aspiring actor now older and reflects on what might have been with her career. It’s an endearing performance that has a real edge to it.
Her chemistry with Kupferer really elevates the emotional elements of the story to the point their scenes seem effortless. She very much adds another dimension that is uplifting and very much needed with her unfiltered quips.
O’Sullivan is great at not leaving you in the mires of despair but cleverly weaves throughout touches of comedic relief that makes it all feel more raw and authentic.
The journey of this movie is one that will break and warm your heart at the same time with its sorrow and long-lasting impact of grief but more importantly it’s message of healing.
2025 Glasgow Film Festival – Tickets for films and full programme available here.
